Мевати гхарана: История и традиции индийской классической музыки.

Classical music school of India

The Mewati gharana is a musical apprenticeship tribe of Hindustani classical music. Known for being Pandit Jasraj's musical lineage, the gharana was founded by brothers Ghagge Nazir Khan and Wahid Khan (beenkar) of Indore in the late 19th century at the Holkar Court. Members of this gharana have had an active influence in Indian cinema for over half a century. With its own distinct aesthetics, stylings, practices, and repertoire, the gharana emerged as an offshoot of the Khandarbani Dhrupad, and Qawwal Bacchon musical traditions. The gharana gained visibility in the late 20th century after Pt. Jasraj popularized the gayaki.

Ghagge Nazir Khan and Wahid Khan are regarded as fountainheads of the Mewati gharana. They were descendants of the Qawwal Bacchon gharana (Qawwal Bacchon Ka Gharana).

The Mewati Gharana takes its name from the region between Delhi, Jaipur, and Indore where Ghagge Nazir Khan and Wahid Khan's family hailed, Mewat (not the Mewar region of Rajasthan).

Ghagge Nazir Khan passed on his musical tradition to his foremost disciples Munavvar Khan, Natthulal Pandit, Chimanlal Pandit, and Ghulam Qadir Khan. Natthulal passed the tradition onto his nephew, Motiram, who shared this tradition with his brother, Jyotiram, around the start of the 20th century. During this period, musicians of this gharana served under monarchical patronage as court musicians. Jyotiram later became a disciple of Rajab Ali Khan, whose father, Manglu Khan, was a disciple of Bade Mohammed Khan and Bande Ali Khan (e. g. a member of the extended gharana). Motiram passed this tradition to his sons, Maniram and Pratap Narayan. After Motiram's unexpected demise, Maniram and Pratap Narayan were instrumental in grooming their younger brother, Jasraj, in the Mewati tradition after the latter renounced playing tabla, his primary training at the time. Jasraj was initially influenced by the music of Amir Khan and Begum Akhtar but later developed a separate style. He introduced new stylistic elements into the traditional Mewati style, following the romanticism started by Omkarnath Thakur and producing a more emotive, devotional, rhythmic conscious, and lyric conscious style.

Ghagge Nazir Khan and Wahid Khan inherited three traditions of classical music; Khandarbani dhrupad baaj and gayaki from their ancestors and then Qawwal Bacchon gayaki. Mewati gayaki emerged from the first synthesis of the dhrupad and khayal traditions of music, through the inter marriage of Bade Mohammed Khan's family with Haddu Hassu Khan's family, which Ghagge Nazir Khan married into. Bade Mohammed Khan, son of Shakkar Khan of Lucknow, emerged from the Qawwal Bacchon tradition. His son, Waris Ali Khan, married a daughter of Haddu Khan. Through their union, Bade Mohammed Khan acquired the status of being a Gwalior gharana exponent and was regarded for his "taan bazi" repertoire. Another offspring of Bade Mohammed Khan, Bade Mubarak Ali Khan, Ghagge Nazir Khan married Bade Mubarak Ali Khan's daughter, learned from Waris Ali Khan. Due to politics and competition with Natthu Khan's family, Bade Mohammed Khan relocated to Rewa in Bhopal as the court musician of the maharaja. Consequently, Ghagge Nazir Khan and Wahid Khan are associated with the Bhopal region in musical literature.

Seeking musical patronage, their ancestors immigrated from their origins in Delhi and Gwalior, settling first in Bhopal and later western Rajasthan. These migrations influenced new developments in the gharana's musical styles and aesthetics. Eventually, these changes resulted in the Mewati gayaki becoming distinct although reminiscent of the Gwalior and Qawwal Bacchon styles. Hence the gharana is considered both musically and genealogically different from these groups.

The below illustration is based on the historical account provided by Siraj Khan.

A visual representation of Mewati gharana and its earlier roots.

Though the gayaki has roots in the style and trends of the Gwalior and Delhi, the Mewati gayaki has some distinct qualities. The Mewati gayaki emphasizes the importance of bhava and literature (bandish). The gayaki includes substantial use of sargam and tihai. In a crude sense, the approach to taan is similar to the Patiala gayaki and Tappa Gayaki in execution but is closer to the Gwalior gayaki in application. The gayaki's meend applications have been regarded for their smoothness and naturalness.

Maniram and Jasraj have described the essential philosophy of the Mewati tradition as based on "shuddha vani" (pure sound), "shuddha mudra" (pure expression), and "shuddha sur" (pure notes).

Through Sufiana mausiqi and bhaktic influences, the Mewati gayaki includes theistic and spiritual elements, where religious verses from Hinduism and Shia Islam (especially Ismailism) are incorporated not only in the grammatical content of the music, but as intrinsic elements in melodic expression. Jaiwant Singhji and Jasraj contributed numerous devotional compositions to the gharana's repertoire. Some contemporary compositions invoke the name and attributes of Aga Khan as the manifest Imam and the tenth incarnation of Lord Vishnu according to the dashavatara. The verse "Om Shri Anant Hari Naaraayañ" is typically invoked as the initiation of a performance, and as the grammatical medium for an alap.

Informed by the gharana's kirtankar tradition, Jasraj researched the haveli sangeet of Mathura and Brindavan. Consequently, many devotional compositions have been brought into the gharana's repertoire.

Wahid Khan (c. 1840 1933) was born to Imam Khan, a Khandarbani dhrupadiya, in Alwar. He learned rudra veena from Bande Ali Khan (Kirana and Dagarbani). He served as court musician to Indore State. Four of his children, Latif, Majid, Ghulam Qadir, and Hamid went on to become renowned musicians. "Ghagge" Nazir Khan (c. 1850 c. 1920) was born to Imam Khan, a Khandarbani dhrupadiya, in Agra. He learned vocal music from Waris Ali Khan (Qawwal Bacchon Gharana and Chhote Mohammed Khan (Gwalior). He served as court musician to Jodhpur, Gwalior, and Bhopal states. He taught music to Pandit Natthhulal, Pandit Chimmanlal, Munavvar Khan (brother), and Ghulam Qadir Khan (nephew). Chimanlal Pandit (c. 1850s c. 1890s), learned from Ghagge Nazir Khan. Natthulal Pandit (c. 1850s c. 1920s), learned from Ghagge Nazir Khan. Munavvar Khan (c. 1860s c. 1930s), learned from Ghagge Nazir Khan (primarily) and Wahid Khan. Majid Khan (c. 1880s c. 1930s), first son and disciple of Wahid Khan, proficient in sitar and rudra veena. Latif Khan (c. 1880s 1935), second son and disciple of Wahid Khan, proficient in rudra veena. Succeeded his father as a court musician of Indore for the Holkar Dynasty. Begum Hasibanbai (c. 1880s c. 1950s), daughter of Wahid Khan, mother of Mohammed Khan, grandmother of Rais Khan. Saddan Khan (c. 1890s 1940s), third son and disciple of Wahid Khan, proficient in sitar. Pandit Motiram (1889 1934), nephew and disciple of Natthulal Pandit. Father and guru of Motiram, Pratap Narayan, and Jasraj. Mohammed Shafi (c. 1900s 1979), son of Majid Khan, proficient in sitar, composed and arranged music in the Hindi film industry. Brother in law of Vilayat Khan. Pandit Jyotiram (1899 1944), younger brother and disciple of Pandit Motiram and Rajab Ali Khan. Father of Puranchand.

Sandeep Ranade (b. 1981), disciple of Pandit Jasraj and Shobha Abhyankar. Also learned from Anjali Joglekar Ponkshe. Saptarshi Chakraborty (b. 1981), disciple of Pandit Jasraj. Pritam Bhattacharjee (b. 1981), disciple of Pandit Jasraj. Asad Khan (b. 1982), son and disciple of Siraj Khan, proficient in sitar. Shahraaz Khan (b. 1980s), son and disciple of Siraj Khan. Works as a composer and arranger for film and television. Amit Arya (b. 1980s), disciple of Asha Lohia, Hemang Mehta, Tripti Mukherjee, and Pandit Jasraj. Adwait Joshi (b. 1980s), disciple of Pritam Bhattacharjee. Ankita Joshi (b. 1988), disciple of Pandit Jasraj. Aditya Shah (b. 1994), disciple of Radharaman Kirtane and Rattan Mohan Sharma. Akshat Parikh (b. 1990s), disciple of Krishnakant Parikh. Works as a music supervisor for film and television. Swar Sharma (b. 2000), son, grandson and disciple of Pandit Jasraj. Azaan Khan (b. 2000s), son and disciple of Asad Khan.